Focus 8 is a fantastic record by Thijs van Leer, Jan Dumée, Bobby Jacobs, and Bert Smaak, the new-millennium version of the band Focus. The instrumentals show real spirit and creativity without the bombast of the 1973 opus "Hocus Pocus," which branded the group forever as "progressive rock." Yes, it is still arty King Crimson meets Jethro Tull stuff, the flute taking even more of the space than an Ian Anderson might grant it, but there is something about this album that takes hold and makes for a surprising listening experience. The quartet somehow keeps the ostentatious aspect of the genre down to a minimum and puts the emphasis on serious explorations of what it does best. For an hour's worth of mostly instrumental prowess, it is quite an achievement.

China Ranch is a solid debut that is consistent and filled with memorable tunes and impressive performances that would appeal to a variety of listeners. Briggs' writing admirably balances both melody and progressiveness throughout the recording, including the final track "Saints," where Mitchel Forman's piano and keyboards, Gambale's guitar fireworks and the author's own tremendous drumming all converge in harmony.

Nikolaus Harnoncourt is one of the few true stars among conductors worldwide. Performances like the New Year’s Concert of the Vienna Philharmonic Orchestra enable him to reach an audience of millions, displaying the characteristic passion and fiery intensity that identify him, first and foremost, as a true servant of his art. His first opera production dates from 1971, when he conducted Monteverdi‘s “Il ritorno d‘Ulisse in patria” at the Theater an der Wien, and soon after this he embarked on a fruitful cooperation with Jean-Pierre Ponnelle at the Zurich Opera.

Flavio comes from a fertile period in Handel's output, but despite the presence of Cuzzoni and Senesino, two of the most important and lauded singers of the day, it flopped when first presented in 1723. This is probably due to the fact that it's a comedy that turns tragic before ending happily–and London audiences simply couldn't get their heads around such a thing. Whatever the case, it contains aria after aria, with a duet thrown in–and each one is short, to the point, and always entertaining. The instrumental textures are never complex–and the rhythms, mostly upbeat, keep the opera moving at an almost sitcom pace. I won't go into the plot because it's not that hard to follow, but rest assured that this performance is dynamite.

Departing from the sound of Inside Straight and the Christian McBride Trio, bass giant McBride fronts New Jawn (derived from Philadelphia slang), a quartet with no chordal instrument. The album has the spark and loose feeling of a live set, its spacious harmonic language articulated with equal parts rigor and abandon by tenor saxophonist Marcus Strickland and trumpeter Josh Evans. Each player writes two tunes, beginning with McBride’s lopsided scene-setter “Walkin’ Funny” and later his modern waltz “John Day” (with Strickland doubling on bass clarinet). Drummer Nasheet Waits, with his unique facility and expression in every context, from free-form to hard swing, contributes “Ke-Kelli Sketch” and the affecting ballad “Kush” (another bass clarinet piece). Evans’ entries range from the darkly hued “Ballad of Ernie Washington” to the Caribbean-tinged “Pier One Import,” while Strickland’s “The Middle Man” and “Seek the Source” bring the heat and light of surging uptempo post-bop and idiosyncratic blues in turn.

S.U.S.A.R is Polish band Indukti's debut album. Most of the compositions here are instrumentals in the six- to seven-minute range that build tension through repetition of increasingly loud and aggressive melodic themes. Mariusz Duda, vocalist of Riverside, guests on two tracks. Dark, moody, S.U.S.A.R. has a rich, full sound that contrasts heavy, almost metallish riffing against slowly-building spacy sections. Tool circa Lateralus is indeed a good comparison in this manner, but Indukti's sound is a bit warmer - always intense, but more mysterious than it is menacing.

Cycles Within Cycles Within has all the characteristics of a landmark deep ambient album; lush landscapes of sound and melody that transport the listener out of time and into a healing space. Sinepearl's music engages you and carries you along gently, whereas strictly speaking, ambient music is in the background. The production and arranging is masterful and effective; drawing on potent techniques and building in flows, contrasts and doorways into new spaces. As the title suggests, Sinepearl's music is like a glittering fractal loop; travelling inside and out into the cosmos all at the same time. Sinepearl grounds his sounds in nature and the album features a number of field recordings he made. If you're a fan of deep electronica or if you like music that transports you then settle in to Cycles Within Cycles Within.